(Free-Jazz) Archie Shepp - Kwanza - 2006, FLAC (tracks+.cue), lossless

Archie Shepp - Kwanza Жанр: Free-Jazz Страна-производитель диска: USA Год издания диска: 2006 Издатель (лейбл): Impulse! Номер по каталогу: 0602517050396 Страна: USA Аудиокодек: FLAC (*.flac) Тип рипа: tracks+.cue Битрейт аудио: lossless Продолжительность: 41:21 Источник (релизер): собственный Наличие сканов в содержимом раздачи: есть1 Back Back 2 Spoo Pee Doo 3 New Africa 4 Slow Drag 5 Bakai  Лог создания рипа Exact Audio Copy V1.0 beta 3 from 29. August 2011EAC extraction logfile from 26. February 2012, 11:46Archie Shepp / KwanzaUsed drive : SlimtypeDVD A DS8A5SH Adapter: 0 ID: 1Read mode : SecureUtilize accurate stream : YesDefeat audio cache : YesMake use of C2 pointers : NoRead offset correction : 6Overread into Lead-In and Lead-Out : NoFill up missing offset samples with silence : YesDelete leading and trailing silent blocks : NoNull samples used in CRC calculations : YesUsed interface : Native Win32 interface for Win NT & 2000Gap handling : Appended to previous trackUsed output format : User Defined EncoderSelected bitrate : 128 kBit/sQuality : HighAdd ID3 tag : NoCommand line compressor : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exeAdditional command line options : -V -8 -T "Genre=%genre%" -T "Artist=%artist%" -T "Title=%title%" -T "Album=%albumtitle%" -T "Date=%year%" -T "Tracknumber=%tracknr%" -T "Comment=%comment%" %source%TOC of the extracted CD Track | Start | Length | Start sector | End sector --------------------------------------------------------- 1 | 0:00.00 | 5:45.67 | 0 | 25941 2 | 5:45.67 | 2:38.39 | 25942 | 37830 3 | 8:24.31 | 12:50.44 | 37831 | 95624 4 | 21:15.00 | 10:09.44 | 95625 | 141343 5 | 31:24.44 | 9:59.08 | 141344 | 186276Track 1 Filename D:\Musak 2\Archie Shepp\Kwanza (1974)\01. Back Back.wav Pre-gap length 0:00:02.00 Peak level 96.6 % Extraction speed 1.0 X Track quality 99.9 % Test CRC E7E36287 Copy CRC E7E36287 Accurately ripped (confidence 13) [7B637598] (AR v1) Copy OKTrack 2 Filename D:\Musak 2\Archie Shepp\Kwanza (1974)\02. Spoo Pee Doo.wav Peak level 91.9 % Extraction speed 1.1 X Track quality 100.0 % Test CRC 345D3911 Copy CRC 345D3911 Accurately ripped (confidence 13) [E04A76FD] (AR v1) Copy OKTrack 3 Filename D:\Musak 2\Archie Shepp\Kwanza (1974)\03. New Africa.wav Pre-gap length 0:00:01.10 Peak level 94.3 % Extraction speed 1.5 X Track quality 99.9 % Test CRC 1C6EACEC Copy CRC 1C6EACEC Accurately ripped (confidence 13) [2F2319F3] (AR v1) Copy OKTrack 4 Filename D:\Musak 2\Archie Shepp\Kwanza (1974)\04. Slow Drag.wav Pre-gap length 0:00:00.61 Peak level 99.1 % Extraction speed 1.8 X Track quality 100.0 % Test CRC 7A233F74 Copy CRC 7A233F74 Accurately ripped (confidence 13) [53E9F349] (AR v1) Copy OKTrack 5 Filename D:\Musak 2\Archie Shepp\Kwanza (1974)\05. Bakai.wav Pre-gap length 0:00:00.46 Peak level 100.0 % Extraction speed 2.0 X Track quality 100.0 % Test CRC A427C5CC Copy CRC A427C5CC Accurately ripped (confidence 13) [B10ADB7C] (AR v1) Copy OKAll tracks accurately rippedNo errors occurredEnd of status report==== Log checksum 92BCDDA7CFBF286865B9ED2B6C504CB54B1DCB8E8D7448A378725FECDD95B54C ====  Содержание индексной карты (.CUE) REM GENRE JazzREM DATE 1974REM DISCID 4309B305REM COMMENT "ExactAudioCopy v1.0b3"CATALOG 0602517050396PERFORMER "Archie Shepp"TITLE "Kwanza"FILE "01. Back Back.wav" WAVE TRACK 01 AUDIO TITLE "Back Back" PERFORMER "Archie Shepp" ISRC USUM70612809 FLAGS DCP INDEX 01 00:00:00FILE "02. Spoo Pee Doo.wav" WAVE TRACK 02 AUDIO TITLE "Spoo Pee Doo" PERFORMER "Archie Shepp" ISRC USUM70612811 FLAGS DCP INDEX 01 00:00:00 TRACK 03 AUDIO TITLE "New Africa" PERFORMER "Archie Shepp" ISRC USMC16854255 FLAGS DCP INDEX 00 02:37:29FILE "03. New Africa.wav" WAVE INDEX 01 00:00:00 TRACK 04 AUDIO TITLE "Slow Drag" PERFORMER "Archie Shepp" ISRC USUM70612810 FLAGS DCP INDEX 00 12:49:58FILE "04. Slow Drag.wav" WAVE INDEX 01 00:00:00 TRACK 05 AUDIO TITLE "Bakai" PERFORMER "Archie Shepp" ISRC USMC16854256 FLAGS DCP INDEX 00 10:08:73FILE "05. Bakai.wav" WAVE INDEX 01 00:00:00  Об альбоме (сборнике)This big band session collects all of Archie Shepp's virtues as a composer, saxophonist and jazz dramaticist and puts them into one glorious package. Like the African-American holiday this album is named after, it's an imposing hybrid form, a sprawling mass of experimental jazz circa 1969 sharply peppered with funk, blues, and myriad musical evocations of an imaginary "Africa."Not only was Shepp consistently soloing with as much dynamic originality as he would ever do—gruff, hoarse, but consistently and logically lyrical—his assemblage of players was absolutely at their peak. The shamefully under-recognized trombonist Grachan Moncur III plays with furious splendor on his own composition, a moody tone-poem summoning up some utopian African vision, "New Africa." Moncur is equally sensational when teamed with the brassy front line of Shepp, trumpeter Jimmy Owens, and saxophonists James Spaulding and Charles Davis on the "James Brown-Meets-Free Jazz" funk workout "Back Back." Vocalist Leon Thomas controls his zealous yen to yodel, and uses it with great grace and taste on Shepp's brief anthem to Black liberation, "Spoo Pee Do," whose title is a Philly slang term for "everything's fine."Since it is nearly impossible to listen to '60s Shepp without evoking his mentor, John Coltrane, it is fascinating to hear Shepp's cover of Cal Massey's "Bakai," an ungainly repetitous vamp that even Coltrane couldn't make interesting on an earlier Prestige recording. With the help of trumpeter Woody Shaw, Shepp creates a blisteringly dramatic anthem out of Massey's tedious original that makes Coltrane's version seem pale by comparison.Shepp always had a melodramatic flair in the '60s. This led to a sometimes contrived and self-consciously "streetwise/New Jazz" approach that flowered on Mama Too Tight (1966) and Attica Blues (1972), both grander in concept than in execution. His melodramatic excesses are in check here, his choice of players impeccable. Kwanza sounds fresher than the last six albums by any Marsalis family member of your choice. And only the liner notes, written in an unconscious parody of Amiri Baraka at his most windy, date the product.*** Albert Ayler flamed like phosphorous for a few years, spoke like an Old Testament prophet, wore leather trousers and died young in mysterious circumstances. Archie Shepp burned just as bright, but has lived to a ripe age, growing to embrace the mainstream, and has had one foot in academe for much of his career. The two saxophonists, along with John Coltrane, personified the Impulse! label during its giddy zenith, but Ayler's highly marketable legend, now of mythic proportions, has grown to overshadow Shepp's contributions to the label and the “new thing.”Kwanza catches Shepp at his most funked up and glorious. It was recorded over four sessions, between September 1968 and August 1969, a time when psychedelia and Blackism's twin recalibrations of jazz convention were at their most fervid. Primal R&B values were fascinating the avant garde, along with what would now be called world music and an avowed, Maoist anti-intellectualism (the latter essentially an affectation, and one hilariously observed by Tom Wolfe in Radical Chic And Mau-Mauing The Flak Catchers, Farrar, Straus & Giroux, 1970).Shepp, though himself an intellectual, was part of this back-to-the-roots-and-outwards movement. Kwanza, and the nearly contemporaneous The Way Ahead (Impulse!, 1968), recorded with the same core musicians, were his mature statements in a trajectory which had hit the backbeat with the New Orleans fonk-informed Mama Too Tight (Impulse!, 1966).Surrounding himself with the cream of the “new thing” players, Shepp maintained his commitment to free and collective improvisation, but combined it now with structured arrangements rooted in gospel and the blues. Bass ostinatos, keyboard vamps and drum backbeats drive the music, along with raw R&B horn charts and sweating, testifying horn solos.Ace fellow travellers like organist/pianist Dave Burrell, trombonist Grachan Moncur III and trumpeter Jimmy Owens help Shepp keep the unexpected happening against these repititious, cyclical structures. First-generation bebop baritone saxophonist Cecil Payne, a relative old-timer here, blows his fine wild heart out on Cal Massey's “Bakai.”Kwanza is roughly contemporaneous with Ayler's most considered R&B statement, New Grass (Impulse!, 1968), whose visceral passion it approaches without wholly abandoning the cerebral in the process. There are close affinities too with the work of some artists on the post-Alfred Lion, late-1960s Blue Note label, recently compiled on the double-disc set Righteousness. A great little chunk of history, and with the power still to move the listener. (Review courtesy of All About Jazz)*** Archie Shepp started his career as a new thing firebrand, an acolyte of John Coltrane and a fierce advocate for civil rights. By the time these sessions were recorded in the late 60's and early 70's, Shepp had changed—developing a funky style of R&B tinged jazz that wasn't exactly fusion, but definitely showed an awareness of what people like James Brown and Sly Stone were up to. The first album on this 2-fer, is the rare disc For Losers, and it surprises you right from the jump with a straight up R&B tune called “Stick 'em Up," which wouldn't have sounded out of place on the AM radio of the time. Some of the other tracks enter the same territory, with massive horn riffs and drums propelling a killer groove. Shepp was evolving into an excellent ballad player and examples of this are apparent on the vocal enhanced piece of Ellingtonia, “I've Got It Bad," and then instrumental “What Would It Be Without You" enhanced by some gentle flute. His tenor playing, especially on the ballads has taken on a Ben Webster like confidence (something he would pass on to fellow traveler David Murray.) Kwanza is an overlooked gem of a recording. This album has a curious history, being recorded during 1968 and 1969 and then only slipping out during the end of the original Impulse tenure in 1974. These recordings have a fairly large group of performers including among others Grachan Moncur III on trombone, James Spaulding on alto saxophone, Charles Davis on baritone saxophone, and Dave Burrell on organ. The music itself is a very interesting blend of funky R&B and spiritual “cosmic-groove" free-jazz that was Impulse's stock and trade during the late 1960's. The opening track “Back Back" is the best example of this with some righteous honking over a slippery organ groove. Moncour's “New Africa" allows the band the opportunity to stretch out on a freer angle, without ever sinking into just perfunctory blowing. The only mis-step “Spoo Pee Doo" featureing vocals from the distinctive Leon Thomas, background singers as well as flute, for something completely different.which really never takes flight. Apart from that though, this is a fine album of modal to free jazz which should give open eared jazz listeners a lot to enjoy.  Состав Martin Banks Trumpet Andy Bey Piano Walter Booker Bass Dave Burrell Organ, Piano Beaver Bushnell Bass Joe Chambers Drums Charles Davis Sax (Baritone) Matthew Gee Trombone Beaver Harris Drums Robin Kenyatta Flute Grachan Moncur III Trombone Jimmy Owens Trumpet Bert Payne Guitar Cecil Payne Sax (Baritone) Bernard "Pretty" Purdie Drums Wally Richardson Guitar Clarence Sharpe Sax (Alto) Woody Shaw Trumpet Archie Shepp Sax (Soprano), Sax (Tenor), Vocals James Spaulding Sax (Alto) Leon Thomas Vocals Tasha Thomas Vocals Doris Troy Vocals Cedar Walton Piano Wilbur Ware Bass Albert Winston Bass